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New York City

New York City has been the primary vehicle for the transmission of Heinrich Schenker's
ideas into the United States from as early as c. 1925, initiated through the institutional
and private teaching of, in particular, Hans Weisse, Felix Salzer, and Ernst Oster between
1931 and the 1970s, and furthered through the issuing in English translation of the
majority of Schenker's published and unpublished works by New York publishing houses,
thereby disseminating Schenker's ideas to the broader English-speaking world.

Educational Institutions: to 1940

Several institutions for the teaching of music at college level came into existence
toward the end of the 19th century, including the New York College of Music (founded in
1878, it absorbed the German Conservatory in 1920 and the American Conservatory in 1923),
the National Conservatory of Music in America (1885, of which Dvořák was director 1892 to
1895), and the Metropolitan Conservatory (1886).

The Music Department of Columbia University was founded
in 1896. Further institutions were established in the early 20th century, most notably the
Institute of Musical Art, founded by Frank Damrosch in
1905, and the David Mannes Music School, founded by David Mannes and his wife Clara
Damrosch in 1916. Also, the Manhattan School of
Music was founded in 1917. The Institute of Musical Art merged with the graduate
music school of the Juilliard Music Foundation to form the Juilliard School of Music in
1926. The New School for Social Research was founded in 1919, and in the 1920s broadened
its curriculum to include subjects in the arts and humanities.

It was in three of these newer institutions that the first signs of interest in the
theories of Heinrich Schenker emerged. George A. Wedge was
a student at the Institute of Musical Art before 1920, and
later returned to teach there and serve as its dean. In 1925, the professional cellist
Gerald F. Warburg reported that Wedge was "lecturing on
the Urlinie" and pioneering Schenker's theory. In the 1920s, Warburg, while in Vienna, had
himself been a pupil of Hans Weisse, and it is he who may
have drawn the attention of David Mannes and Clara Damrosch to Weisse's work; at any event, Weisse taught
at the David Mannes Music School from the Fall of 1931 to
his death in 1940, giving courses in music theory and composition influenced by Schenker's
ideas. From 1932 to 1940, Weisse also gave courses and graduate seminars at Columbia University in which he introduced significant
numbers of people ("musicians, teachers, even concert artists") to Schenker's ideas. Among
those whom Weisse influenced at those two institutions were Arthur Waldeck (who corresponded directly with Schenker in 1929‒34), Israel Citkowitz, Arthur
Berger, Adele T. Katz, Ruth Halle Rowen, and William J. Mitchell,
several of whom subsequently disseminated Schenker's ideas.

Adele T. Katz taught courses on Wagner's music dramas at
the New School for Social Research in 1932‒34 into which she may have introduced
Schenkerian elements. She also taught a wide range of courses at the Rand School of Social
Science between 1931 and 1940, the titles of some of which suggest that she adopted a
Schenkerian perspective. She also taught at the Young Men's Hebrew Association and gave
lectures at a number of other educational institutions and clubs in the 1930s through
which she most likely propagated Schenker's ideas to a broader audience.

Educational Institutions: after 1940

It was Adele T. Katz who authored the first
English-language book devoted to Schenker's theory and analytical method: Challenge to Musical Tradition, published in 1945, which both reflected her
studies with Weisse and arose out of her teaching in the
1930s, and which had wide influence throughout the English-speaking world. She was
appointed an instructor at Columbia University's Teachers
College 1946‒51, where she explicitly taught "the Schenker approach" to analysis; and at
the Studios of Music Education 1947‒69, where again her teaching was imbued with
Schenker's ideas.

William J. Mitchell (1906‒71) studied at the Institute of Musical Art and Columbia University. After two years in Vienna during which he studied with Weisse he returned to Columbia's Music Department, teaching
there from 1932 to 1968 (latterly as chairman), using the Schenkerian approach in his
theory and analysis courses, and concurrently lectured at Mannes (by then Mannes College) between 1957 and 1968. His Elementary Harmony (1939) was the first American textbook to draw explicitly on
Schenker's ideas. He was founding co-editor with Felix
Salzer in 1967 of The Music
Forum, an occasional hardcover periodical published by Columbia
University Press to which Schenker's "ideas, teachings, and theories" were central, and to
which Mitchell contributed several major articles.

Born in Vienna, Felix Salzer (1904‒86) had been a pupil
of Weisse in the 1920s and after Weisse's emigration a
member of Schenker's "Friday seminar" from 1931 to 1934
(the seminar the work of which resulted in the publication by the David Mannes Music School of Fünf Urlinie-Tafeln / Five Analyses in Sketchform in 1932),
and briefly a private Schenker pupil. He had received a doctorate in musicology from the
University of Vienna in 1926 under the direction of Guido
Adler, and had in 1936 purchased part of Schenker's posthumous papers from the
theorist's widow (ultimately bequeathed to the New York Public Library among the Felix
Salzer Papers). He emigrated to the United States in 1939 and spent the remainder of his
life in New York City. Salzer succeeded Weisse at Mannes in 1940 and taught there until
1956, serving as Executive Director 1948 to 1955. During that time he established the
"Techniques of Music" curriculum, based on Schenker's approach, for which Mannes became
celebrated; and taught there again part-time from 1962 to 1981.

Salzer published a book in English in 1952 that was to
have an enormous impact not only throughout America but also in other English-speaking
countries around the world. Structural Hearing: Tonal Coherence in
Music, which grew out of his teaching at Mannes,
presented a systematic and pedagogical approach to Schenker's theory and analytical method
while eschewing its political and social components and polemical style. Salzer
established English equivalents for Schenker's technical vocabulary and devised some new
terminology (perhaps in part derived from Weisse and Adele T. Katz). Extending the repertory to which he deemed
Schenkerian theory applicable, he included music of the middle ages and renaissance, as
well as 20th-century music.

Ernst Oster (1908‒77), born in Mannheim and educated in
Hamburg, after studies with Oswald Jonas in Berlin in the
1930s moved to Vienna in 1935, where in 1938 Schenker's widow entrusted him with a large
part of the theorist's papers (correspondence, unpublished sketches and draft materials,
etc., eventually bequeathed to the New York Public Library as The Oster Collection). Oster
emigrated to the United States in 1939, where he taught privately in New York. In the late
1960s he taught briefly at Princeton University and began teaching at the New England
Conservatory and, in the mid-1970s, at Mannes. His pupils
included Peter Serkin, Edward Laufer, William Rothstein,
and David Beach. Oster was angered by Salzer's Structural Hearing, in part because he did not believe Schenker's
approach should be applied to works outside the 18th‒19th-century canon. He advocated
advancing Schenker’s cause by presenting his published works in well-informed
translations, and contributed to this process by translating Schenker's final work, Der freie Satz, published in 1979 as
Free Composition.

Of the campuses of the City University of New York, that of Queens College, which established its music department in 1937, had the greatest
impact on the spread of Schenker's ideas. New York-born Saul
Novack (1918‒98) taught there from 1952, was its chair 1961‒66, and Dean of Arts
and Humanities 1978‒82, and was instrumental in the department's transformation to the
Aaron Copland School of Music in 1982. The department's music theory curriculum
incorporated Schenker's theory, and the School became a center for Schenkerian study and
research with scholars such as Novack, Felix Salzer, Carl Schachter, Charles
Burkhart, and William Rothstein on its faculty and
also on that of the CUNY Graduate Center, founded in the
1960s.

In the later 1930s, the New School for Social Research became a haven for Jewish German
and Austrian scholars escaping the Nazi regime. One of these was Viktor Zuckerkandl, a Schenker correspondent, and pupil in 1914/15, who taught at
the New School 1946‒48 before moving to St. John's College, Annapolis. His teaching, as
evidenced in his publications, was imbued with Schenker's ideas and graphing methods.
Other students and members of Schenker's circle who emigrated to New York include the
conductors Carl Bamberger and Paul Berl, who both taught at Mannes, as did the
clarinettist Erich Simon. Also active in New York were
Paul Breisach (Schenker pupil 1913‒19), who conducted at
the Metropolitan Opera House, and Trude Kral (a member of
Schenker's "Friday seminar" in 1931/32), who was on the
piano faculty of the Third Street Music School.

Publishers

The role of New York's publishing houses in the dissemination of Schenker's ideas to the
English-speaking world cannot be overstated. The New York publishing scene around 1930 was
dominated by companies such as Simon and Schuster, Random House, Alfred A. Knopf, and the
Viking Press, but there was a host of small, independent publishers as well.

Publication of the first work by Schenker was undertaken by the David Mannes Music School itself: Fünf
Urlinie-Tafeln / Five Analyses in Sketchform (1932). The School
published this in conjunction with Universal Edition of
Vienna. Every graph bears the imprint "Autographie Gg. Tomay Wien I" ‒ Georg Tomay, the draftsman who had executed the graphs for
Schenker's study of the "Eroica" Symphony in 1930. Universal Edition saw to the printing,
and supplied Mannes with 80% of copies, retaining 20% for sales in Europe, an arrangement
made possible by use of parallel, dual-language text for the one-page foreword and
title-page, the graphs being solely in German.

The first fully English-language book on Schenker's theories, Adele T. Katz's Challenge to Musical Tradition (1945),
with over 400 pages and numerous music examples, was fortunate in being taken up by one of
the major houses, Alfred A. Knopf. By contrast, the second, Felix Salzer's Structural Hearing (one volume of text,
one of music examples) was issued by the small publishing house of Charles Boni in 1952.
Boni had started in 1913 as a leftist bookshop in Greenwich Village frequented by writers
and intellectuals, and launched a small publishing house, Albert & Charles Boni, in
1923, issuing modernist literary works (such as Upton Sinclair and Thornton Wilder). This
eventually foundered in the Depression, but Charles Boni started publishing again after
World War II.

Columbia University Press embarked on The
Music Forum in 1967. The series, while not exclusively Schenkerian in
content, served as a laboratory for Schenkerian ideas. It offered analyses of works in the
traditional and non-traditional Schenkerian repertory, and studies of autograph sources
and performance issues. It was the platform for translations of two analyses from
Schenker's Das Meisterwerk, and
of two Schenker monographs: Ein Beitrag zur
Ornamentik (1903, rev. 1908) by Hedi
Siegel as A Contribution to the Study of Ornamentation in
1976, and Oktaven u. Quinten u.
A. (1933) by Paul Mast in 1980.

Dover Publications Inc. of West Soho was founded in 1941 to reissue works no longer
marketed by their initial publishers. In 1969, by which time it had a motley list of music
titles and scores as well of long-playing records, the firm reissued Fünf Urlinie-Tafeln as Five Graphic Music Analyses, omitting the German foreword, adding an
introduction by Salzer and a glossary of German terms,
while leaving Tomay's graphs unchanged save for occasional
bracketed translations and anglicized titles. It had reissued the two volumes of Salzer’s
Structural Hearing in 1962 (consolidated into one volume in
1982). In 1975 the firm reissued Schenker's edition of
Beethoven's Piano Sonatas (1921‒23), edited by Carl Schachter, and in 2016 it rescued from permanent out-of-print status the
English translation by William Drabkin and others of the
three-volume Das Meisterwerk in der
Musik (1925‒30), published in England by Cambridge University Press in
1994‒97.

It was the small house of Longman of West 44th Street that in 1979 undertook publishing
Oster's translation of Der freie Satz as Free Composition
(after rejection by several other publishers), issuing it in two hard-back volumes with
slipcase. This edition, part of the Longman Music Series edited by Gerald Warfield,
re-established many of the passages omitted by Oswald
Jonas in his 1956 second German edition of the work. (This translation was
reprinted in 2001 by Pendragon of Hillsdale, in upstate New York.) Three years later,
Longman issued John Rothgeb's English translation of Jonas's 1934 Das Wesen des musikalischen
Kunstwerks (2nd edn. 1972) as Introduction to the Theory of
Heinrich Schenker. (A further edition of this translation was issued by
Musicalia Press of Ann Arbor, Michigan, in 2005.) In 1984 Longman published Schenker's
critical edition of J. S. Bach's Chromatic Fantasy and Fugue in a translation by Hedi Siegel.

In 1987 Schirmer Books of New York, part of Macmillan, Inc., took on the two volumes of
Schenker's Kontrapunkt (1910,
1922) translated by John Rothgeb and Jürgen Thym as Counterpoint.

Oxford University Press's New York music division published Schenker's unfinished and
fragmentary work Die Kunst des
Vortrags (1911‒30), edited by Heribert Esser and translated by Irene
Schreier Scott as The Art of Performance, in 2000, followed by
the ten issues of Der Tonwille
(1921‒24) in translation by William Drabkin and others in
two volumes in 2004‒05; and the four volumes of Die letzten fünf Sonaten von Beethoven (1913‒20), also known as the
Erläuterungsausgabe, translated by John Rothgeb as Beethoven's Last Piano Sonatas in four
slim volumes with associated website in 2015.

The only translations of autonomous publications by Schenker to be released by a
publisher outside New York City were his Harmonielehre (1906), abridged and edited by Oswald Jonas and translated by Elisabeth Mann Borgese as Harmony, by Chicago University Press in 1954; his Beethovens neunte Sinfonie (1912) by John Rothgeb as Beethoven's Ninth
Symphony, by Yale University Press in 1992; and his Das Meisterwerk in der Musik, first issued in 1994‒97
by Cambridge University Press, as referred to above.

Symposia

In commemoration of the fiftieth anniversary of Schenker’s death, Mannes hosted the first International Schenker Symposium in
March of 1985 (see below, Schenker Studies). At seven-year
intervals, symposia were subsequently held at Mannes in March 1992 (see Schenker Studies 2), March 1999 (see Essays from the Third
International Schenker Symposium), March 2006 (see Essays from
the Fourth International Schenker Symposium, vols. I and II), and March 2013
(see Essays from the Fifth International Schenker Symposium,
parts I and II, and Music Analysis, Special Issue on Schenker
Documents). The symposia were three-day events; scholars from Australia, Austria, Canada,
Finland, France, Germany, Israel, Italy, the Netherlands, the United Kingdom, and the
United States presented papers and participated in panel discussions. Topics covered a
broad range of analytical, theoretical, and historical subjects. A memorable discussion,
Milton Babbitt and Allen
Forte in conversation with Joseph N. Straus, took place at the 2006 Symposium.

Music Societies

The Music Theory Society of New York State (MTSNYS), founded in 1971, several years
before the establishment of the national Society for Music Theory (SMT), has held about
half of its annual meetings in the New York City area. Schenkerian theorists from the city
have played an active role in the society, serving as officers and as editors of the
Society's journal Theory and Practice, reading papers at the
annual meetings (Ernst Oster gave a talk, "Words and Music in Schubert Lieder," in 1975), and contributing to the journal.
The early issues of Theory and Practice were produced in New York
City, from 1981 to 1990 in affiliation with the Ph.D. program in music at CUNY. A large
proportion of the articles published in the journal have a Schenkerian focus.

From 1962 to 1964 Felix Salzer served as chairman of the
Greater New York Chapter of the American Musicological Society (AMSGNC), founded in 1935,
a year after the founding of the national AMS. Among the papers presented during Salzer's
tenure was one read by William J. Mitchell, "Chord and Context in
18th-Century Theory" (published 1963 in the Journal of the
American Musicological Society 16/2), in which Schenkerian graphs demonstrated
the application of thorough-bass theory to 20th-century examples. (Mitchell was a very
active AMS member, serving as president from 1965 to 1966.) At the annual meeting of the
AMS held in New York in 1949, Salzer had presented an important paper: "Directed Motion: The Basic Factor of Musical Coherence," which prefigured some
of the ideas of Structural Hearing. New York continued to be a
venue for meetings of the national societies. A joint meeting of the AMS and SMT held in
New York in 1995 included a keynote address, "Reflections on
Schenker," by Charles Burkhart and a special session on Schenkerian approaches to
rhythm featuring Frank Samarotto, Channan Willner, William Rothstein, and Carl
Schachter.

Berry, David Carson, "The Role of Adele T. Katz in
the Early Expansion of the New York 'Schenker School,'"
Current Musicology 74 (2002), 103‒51

Berry, David Carson, "Hans Weisse and the Dawn of
American Schenkerism,"
Journal of Musicology 20/1 (2003), 104‒56

Berry, David Carson, "Schenkerian Theory in the
United States: A Review of its Establishment and a Survey of Current Research
Topics,"
Zeitschrift der Gesellschaft für Musiktheorie, 2/2‒3 (2005),
101‒37

Berry, David Carson, "Schenker's First
'Americanization': George Wedge, the Institute of Musical Art, and the 'Appreciation
Racket,'"
"Festschrift for Allen Forte, Part 3", Gamut 4/1 (2011) https://trace.tennessee.edu/gamut/vol4/iss1/7

Koslovsky, John, From Sinn und Wesen to Structural
Hearing: The Development of Felix Salzer's Ideas in Interwar Vienna and their
Transmission in Postwar United States (PhD dissertation, Eastman School of
Music, 2009)

Early Primary Sources

1931: Lytle, Victor Vaughn, "Music Composition of
the Present: An Analysis of the Trend of Composition based on the Proved Achievement
of the Greatest Masters of Past Centuries,"
The American Organist 14/11 (Nov. 1931), 661‒66 [uses Schenkerian terms and graphing]

Correspondence

Hertzka complains at the embarrassment that Schenker has caused him over the
Instrumentations-Tabelle, and proposes releasing the Table in two versions. — He proposes
that Schenker edit Book II of the Well-tempered Clavier in the manner of
Busoni.

Dahms reports change of address and explains circumstances; has sent a
prospectus to UE; progress on subscriptions to his de luxe edition and a new American
contact; synopsis of his planned Bel Canto book. — He praises the "Miscellanea" in Tonwille
3, and comments on Schenker's understanding of democracy.

In a wide-ranging letter, Schenker sends Violin money for arranging the order of
Der Tonwille (which must consist of multiple copies of Tonwille 1); Hertzka's representative,
Robert Scheu, is currently studying the papers relating to Schenker's threat of legal action.
Schenker continues to express his astonishment at Furtwängler's ignorance of sonata form, a fact
that does not prevent him from earning huge fees for conducting in New York. He has turned down
a request from a lady who teaches in New York and a former pupil (now in St. Gallen), who wish
to spend some time with him in Galtür. He enquires about the personal difficulties that Violin
writes about in his letter, and asks him to say more; they will invite his sister for a visit.
He will send him a copy of the medallion (designed by Alfred Rothberger); the portrait by Viktor
Hammer is not yet finished.

Schenker congratulates Cube on appointment to professorship; reports that Oppel
has been appointed to a professorship at the Leipzig Conservatory, and on the spread of
Schenker's theory elsewhere; looks forward to visit from Cube.

Sending greetings for the New Year, Schenker expresses the hope that his
friend's fortunes will begin to improve in 1928. He agrees with Violin's pronouncements on
Vrieslander’s character and ability to convey Schenker's thoughts, and has no idea of what
to expect in Vrieslander's (supposedly) forthcoming monograph on him. Weisse, whom he
regards as a more skilled interpreter of his work, has announced plans for a monthly
journal, Die Tonkunst, to be edited with his pupils Oswald Jonas and Felix Salzer, which
will be based exclusively on Schenker's theoretical approach. But he is afraid that Weisse
might leave Vienna, to teach at Damrosch's music school.

Schenker sends Cube an article written for the Beethoven centenary festival and suggests a
"connection" between Bonn and Düsseldorf; refers to American professors teaching the Urlinie in the USA;
outlines summer plans.

Schenker reports the impact of his Urlinie concept on the educational world
within Germany and in the USA. — He seeks to re-establish a working relationship with UE,
raising the cases of his unfinished elucidatory edition of Beethoven Op. 106, the analytical
study of the "Eroica" Symphony on which he is now working, and Der freie Satz, vol. III of
NMTF, still outstanding. — He is angling retroactively for a monograph series comprising his
existing studies of the Ninth and Fifth Symphonies and his forthcoming study of the
"Eroica."

Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he
emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice;
comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of
C. P. E. Bach's Versuch with his theory applied to the examples; and foretells the Urlinie-Tafeln that should be
available to Violin/Cub in Hamburg and to Weisse in New York. His eyes have suffered and need complete
rest.

Weisse, on holiday, will not be returning to Vienna before making his way ‒
via Nuremberg and Berlin ‒ to Hamburg, where his ship to America sets sail on September 17.
He gives Schenker the address of the Mannes Music School, and reports that he has heard
nothing of late from Furtwängler.

After a long silence, for which he apologizes, Weisse congratulates Schenker
on the completion of Der freie Satz and reports that he has composed a violin sonata, which
retains the neo-Bachian style of his three-voiced piano pieces of 1931. He gives Schenker
the dates of his sailing to America and his address in New York.

In this unsent letter, Schenker tells Einstein about his works and the
difficulties he has encountered in promoting them, and calls upon the physicist for help in
gaining financial support for the publication of Free Composition.

Weisse is uneasy about disparity among translations of Schenker's writings
into English, and suggests that he work with potential translators to arrive at an agreed
set of technical terms. He has renewed contact with Vrieslander, who has sent him a copy of
his recently published songs and Ländler. His work in New York is going well and his family
is thriving, but he sees and hears about a great deal of suffering, on account of the
economic collapse in America.

Josef Marx has expressed interest in class-use of the planned school edition
of Schenker's Harmonielehre; Schenker suggests Jonas's Einführung be placed before Marx; a
second proposal for an English translation of Harmonielehre has come in.

Hertha Weisse reports that, through Hans's teaching at Columbia University and
the Mannes School, Schenker's work has gained a footing in New York (where people seem more
receptive to new ideas), and she expresses her gratitude to Schenker for breathing life into
the spirit that has given such joy to her husband's pupils. The children are growing up
speaking German, and she has begun to restudy the piano.

Schenker thanks Hoboken for money transferred, for contact with Dlabač, and
for information about Jonas. — Oktaven u. Quinten may be published within three weeks. —
Schenker has warned Kalmus about paper quality and lithographer. — He expresses reservations
about Joseph Marx for inability to understand his work. — Weisse has 90 students enrolled
for his course [at Mannes School]; and Furtwängler deems Schenker the "great music
theorist."

Weisse thanks Schenker for a copy of an (unidentified) essay; he is
preoccupied by news of his father's death, and reports that the year ahead will be a
difficult one for America, in spite of the more optimistic mood that has come about since
Roosevelt became President. He has completed a Variations and Fugue on a Popular American
Song, for two pianos, and is now at work on a new string quartet.

Weisse apologizes for long silence, largely on account of depression at the
lack of enrollment at Mannes and of enthusiasm for his recently published Violin Sonata. —
At Mannes he lectures about his own work, because it is important to show how Schenkerian
theory can have a practical application for composers; his pupil Israel Citkowitz is the
only cause for optimism. — At Columbia University, where he "smuggles" Schenkerian theory
into his lectures, enrolment continues to be large. — He sends a copy of his Violin Sonata,
and promises his Variations on a Popular American Song. — He is not coming to Europe this
summer. — Universal Edition is going ahead with a schools' version of Schenker's
Harmonielehre, but he is surprised that Alfred Kalmus expects him to be involved in an
American edition of this.

Free Composition is completed. Schenker is pleased that Hoboken has come
round; — he gives Weisse's address; — Schenker has ordered five copies of Jonas's book; — he
reports that Salzer has completed a new book; — questions Jonas about his new plan, but
welcomes it; — Goos may not realize that Schenker is a Jew.

Weisse reports a visit from Victor Vaughn Lytle, to whom Schenker had recently
written, and the receipt of Oswald Jonas's recent book, on which he comments. The Weisses
have spent a lovely summer by the sea, in the midst of unspoiled nature, and he has
completed a set of five six-voice madrigals on Goethe texts and a string quartet. He reports
and laments his mother’s death.

Weisse outlines a plan to give Jeanette financial support in the form of a
collection from his most dedicated pupils, equivalent to 200 Austrian shillings per month,
for a year, and encloses the first of three planned annual payments. — He inquires whether
Schenker's notes on C. P. E. Bach’s Essay on the True Art of Playing Keyboard Instruments
might be included in an Afterword to a projected English translation. — He plans an
exposition of Schenkerian theory for use in schools, for which he needs to receive a copy of
Der freie Satz. — He thanks Jeanette for mementos of her husband, and says a few words about
his family and their summer plans.

Weisse thanks Jeanette Schenker for her letter and copy of Der freie Satz
which he has read through and is about to study carefully. His initial impressions are that
its conception and content are impressive, but that there are a lot of misprints; and he
regrets that the foreword does not mention the financial help Schenker received from [Paul]
Khuner. He approves Jeanette's idea of depositing Schenker's Nachlass in the
Photogramm-Archiv in the Austrian National Library.

Weisse thanks Jeanette for sending a photograph of her late husband’s
death-mask, and other photographs. — He offers her advice about what to do with Heinrich's
library of books, and with his sketches and other unpublished analyses. The bulk of the
letter is a critique of Der freie Satz, about which he has serious misgivings, partly
concerning the title and subtitle, partly concerning its status as a textbook
(Lehrbuch).

Weisse thanks Jeanette for the photographs of her husband, and will distribute
them to his pupils soon, when he sends the next payment of financial support that he has
collected from them on her behalf. — He is actively engaged in bringing Schenker's ideas to
an English-speaking audience, and urges her to consider agreeing to a suitably shortened
version of Harmonielehre, rather than a word-for-word translation. — For Der freie Satz, an
English translation would do more harm to Schenker's cause than not to have it translated at
all, and it would be necessary to reconceive the presentation of the theory entirely,
especially with respect to terminology. — He suggests that there may be a market for
Schenker's library in American universities and libraries.